Son's intuition reveals Aussie Olympic gold medallist's pregnancy
The 38-year-old former snowboarder has two sons with husband Angus Thomson — and she says it was their eldest who first revealed the latest addition.
Bright said they are 'so excited' to become a family of five.
'The boys are hyped and so sweet with their baby growing in my belly!' she wrote.
On Wednesday, Bright said they are not learning the gender until the baby arrives.
'But I'm feeling a third boy,' she said.
The dual Olympic halfpipe medallist also shared that son Flow 'knew I was pregnant before I actually was'.
'A whole month before I conceived, he was telling people I had a baby in my belly,' Bright wrote.
'Maybe he already knows who this little soul is.'
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Bright said younger son Halo has also connected with the baby.
'Every night, Halo falls asleep holding my belly — and every morning, he wakes up and kisses it,' she said.
'Our hearts are expanding, and so is our family. So deeply grateful for this growing love. #PregnancyMagic #IntuitiveKids.'
Bright made headlines in 2021 when she uploaded a photo of her breastfeeding baby Flow while performing a handstand to celebrate her first Mother's Day.
'Becoming a mother has unleashed something inside of me,' she wrote in the caption.
'It's deeply spiritual. It's primal. It's raw. it's fierce. It is pure.'
The post immediately went viral, prompting Bright to address the negative reaction in a video. Bright shared an Instagram story clarifying the post. Credit: Instagram
She said it was 'just a little bit of pure fun' and 'celebrating the bond between mother and child'.
She also said she could 'understand how it's not everyone's taste' but lamented the judgement.
'Mothers, we need to encourage each other,' she said in the Instagram video.
'We need to lift each other up. We need to pay each other compliments.
'We need to support each other. We need to be each other's biggest cheerleaders because motherhood is so beautiful, but the reality is we are the only ones who know just how hard those hard moments are.
'And we need to have each other's back. Not compare each other and judge each other, because we all do think so differently. That's why it's so beautiful.'
She finished the video by asking: 'But did anyone really think that's how I breastfed?'
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Sydney Morning Herald
2 minutes ago
- Sydney Morning Herald
These daring artists shocked the world. A new show reveals why
When Annie Leibovitz shot a naked, heavily pregnant Demi Moore for the cover of Vanity Fair in 1991, it caused an uproar. Some retailers in the United States, including supermarket chains Giant and Safeway, refused to stock the magazine, while others wrapped it in brown paper. 'We are a family-oriented business,' huffed a spokesperson for Giant in the Washington Post at the time. 'Very young children go to the magazine section while waiting for their parents to finish shopping. We did what we thought was right.' Supporters, though, saw the image as a refreshingly empowering depiction of pregnancy; the magazine's sales and subscriptions rose in the aftermath. Remarkably, more than 50 years earlier, Australian photographer Max Dupain had taken a similarly provocative photograph in Sydney. His 1939 Birth of Venus features the silhouette of a naked pregnant woman flanked by two sculptures, all reminiscent of Botticelli's Venus. It's a stunning image, says Emmanuelle de l'Ecotais, co-curator of Man Ray and Max Dupain, a new show at Heide Museum of Modern Art that, for the first time, pairs the pioneering photographers who worked on opposite sides of the world. The show includes more than 200 photographs, many of which are vintage prints. They speak to each artist's willingness to reject tradition, convention and expectation, while celebrating beauty and the female body. De l'Ecotais says the pairing – the brainchild of Heide's artistic director Lesley Harding – is inspired. Twenty years older than Dupain, the American photographer shared a fascination for depicting beauty, the body and pleasure. 'There's something about beauty and the beauty of women, and the body, that is an ongoing thing for Man Ray,' she says. Dupain, she adds, shared this fascination; the exhibition 'is all about beauty and pleasure'. Both artists were also deliberately provocative, de l'Ecotais says. 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The same was true for Dupain, who is best known for Sunbaker, the iconic image of a swimmer fresh from the ocean, lying on the sand. Taken in 1937, it came to represent an idealised vision of the sun-bronzed Aussie, and remains Australia's most recognisable image. (Ironically, the subject is actually a Brit, Harold Salvage.) But Dupain's lesser-known early work is remarkable and pioneering, says Harding, co-curator of the current show. She says that, like Man Ray, Dupain played with technique and used innovations such as solarisation and superimposition, as well as cropping, framing and playing with angles and subject matter. 'The idea of them being contemporaries is probably not immediately apparent, but they were both at the peak of their powers in the 1930s,' says Harding. 'They both had this capacity to synthesise things, to take them back to their essential element ... [they saw] this enlightened or more inventive possibility.' 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Sydney Morning Herald
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The Age
2 minutes ago
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‘You're a disgrace': 12-year-old activist leaves corporate boss speechless
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